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The Black Keys




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It is interesting to analyze the change of fashion trends in rock music: in the mid-sixties, for example, most music bands copied The Beatles, starting with the hair and jacket and ending with the distinctive sound of Gretsch guitars and Rickenbacker. In the seventies, the days of the apotheosis of art-rock, the musician was a loser if his song was shorter than fifteen minutes, and it was at least six separate instrumental parts. And in the eighties was rampant fashion on the disembodied baritone of vocalists.
By the end of the first decade of the twentieth century flourished the fashion for indie music and lo-fi. By nature, these styles are not claimed to its popularity but rather reveled in their elitism and exclusivity. However, there was a paradox, like the October revolution, when the proletariat underclass out of the cellars, and found that he, in fact, is the master of the situation. And with indie-rock suddenly he came out of the garage into the light and took command of the parade.
It all started of course at the beginning of “zero”, with the emergence of groups, The Strokes, The White Stripes, and other apologists of garage rock’s sloppy vocals, dirty guitars and deliberate andegraundnogo sound attracted many sympathetic young people. The ghosts of Lou reed and Ian Curtis’s become relevant again — there are just a myriad of “the-bands”, competing with each other in neprochitannoe sound and alleged indifference to eventual success. The development of the Internet and mp3 only increased the scale of indie-mania — garage music poured muddy stream on the heads of the unprepared listeners, and now to differentiate one group from another, and just to highlight some, it became very difficult.
The apotheosis of this mystery was a ceremony Grammys 2011, where the main prizes taken by the canadian group Arcade Fire — “album of the year” took a new and independent rock band, the inhabitants did not remember. It became clear that in modern music a vacuum has formed, where gold began to be appreciated the honesty, openness and spontaneous carelessness.
One of the representatives of this host of garage-rockers began the band the Black Keys, which was waiting for its moment of glory for 10 years. Biography of this band perfect for the indie direction, as a biography of some comrade Slyunkov, a Politburo — the group has only two musicians (indie-rockers not looking for easy ways): singer/guitarist Dan Auerbach’s (Dan Auerbach) and a drummer/producer Patrick Carney (Patrick Carney). They themselves from a provincial American town of Akron, Ohio, and their first albums were recorded on cassette tape in an old abandoned factory. If it happened in Russia, that these musicians could just say goodbye, but in America The Black Keys managed to play the opening act for Radiohead and Pearl Jam, and later to go around the world with concerts.
And now, in 2010, their sixth (!) the album “Brothers” still soared to the top of the charts and even received three Grammy musicians pay tribute deserved, for their commitment to independent music and vitality of the indie spirit. In March 2011, The Black Keys began recording their seventh Studio album entitled “El Camino,” and in December he saw the light.
When listening to this release was tormented by the question, what happened to the world community that this music has become the main trend of the beginning of the XX century? Of course, on the “El Camino” contains interesting melodies and arrangements, but all that is quite secondary and very boring.
All the components of the fashionable indie-rock records in place — a dirty guitar, a nasally voice, “sand” keys and rather monotonous melody. But we have to admit that Dan and Patrick have created a recognizable sound, the new album sounds extremely tight and tasty for a group of two musicians. And in comparison with their brethren in the shop, songs from The Black Keys is still quite melodic and a hit.
The album opens with the single “Lonely Boy” is the calling card of the entire album, a characteristic sound and female backing vocals are strongly reminiscent of Arcade Fire. Then everything goes on the thumb: “Dead and Gone” almost standard indie rock song where the vocal melody is accentuated by the fine bells “Gold on the Ceiling” — an excellent garage rock, where driving guitars combined with electronic splashes are inevitable. Also released a great song “Sister” – ready radio hit: the beautiful melody and pulsating rhythm permanently stuck in my head.
This album The Black Keys can be recommended as a vivid illustration of the popular sound of the late “zero”, audiophiles will note paraphrases with the garage-rock of the seventies, and hipsters imbued with a pleasant feeling that finger on the pulse of the times, and watching the new-fangled indie releases.
Wonder, anybody remember the band the Black Keys at least 10 years? And anyway, what will replace the now fashionable garage-rock? Waiting for the answers to this question in the new year.

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